Relevant bibliographies by topics / Cinéma beur

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Cinéma beur'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 June 2024

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Journal articles on the topic "Cinéma beur"

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Stillman, Dinah Assouline. "Cinéma Beur Comes into Its Own." Review of Middle East Studies 42, no. 1-2 (2008): 71–77. http://dx.doi.org/10.1017/s0026318400051543.

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Dhoukar, Hédi. "Quels «beurs», quel cinéma ?" Hommes et Migrations 1170, no. 1 (1993): 14–18. http://dx.doi.org/10.3406/homig.1993.2101.

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LEVINE, ALISON J. MURRAY. "Mapping Beur Cinema in the New Millennium." Journal of Film and Video 60, no. 3-4 (October 1, 2008): 42–59. http://dx.doi.org/10.2307/20688601.

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Fuica, Beatriz Tadeo. "The Foundational Manifesto of New Argentine Cinema? Israel Adrián Caetanos ‘Agustín Tosco Propaganda‘ (1995)." Film Studies 16, no. 1 (2017): 89–93. http://dx.doi.org/10.7227/fs.16.0007.

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Agustín Tosco Propaganda was published in the Argentine film journal El Amante Cine. It was written by Israel Adrián Caetano before his film Pizza, Beer and Cigarettes (Caetano and Stagnaro, 1998) triggered the concept of New Argentine Cinema. In this provocative text, Caetano criticised the way Argentine cinema had usually been made and, in a form of manifesto, he presented the principles that his own films – and those of many other young directors – have followed since then. Although New Argentine Cinema has been thoroughly studied in the English-speaking academia, only a few authors have made reference to this seminal text. Being aware of the principles set in this manifesto more than twenty years ago will help researchers and students understand some important features that tend to be overlooked when exploring not only Argentinean cinema, but also many other cinemas of the region.
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Murray Levine, Alison J. "Mapping Beur Cinema in the New Millennium." Journal of Film and Video 60, no. 3-4 (2008): 42–59. http://dx.doi.org/10.1353/jfv.0.0010.

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GOLDMANN., J. "TAXATION OF TOBACCO, BEER AND CINEMA ATTENDANCES." Bulletin of the Oxford University Institute of Economics & Statistics 5, no. 2 (May 1, 2009): 35–39. http://dx.doi.org/10.1111/j.1468-0084.1943.mp5002003.x.

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Zhabskiy, Mikhail I. "The Demand for Russian Cinema." Journal of Flm Arts and Film Studies 9, no. 2 (June 15, 2017): 8–21. http://dx.doi.org/10.17816/vgik928-21.

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The article proposes a conceptual model representing the sociodynamics of the Russian audiences demand for national films. The problem of its deliberate regulation based on the statistic data is examined. Statistic data bear sociological evidence of such demand.
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Tarr, C. "Questions of identity in Beur cinema: from Tea in the Harem to Cheb." Screen 34, no. 4 (December 1, 1993): 321–42. http://dx.doi.org/10.1093/screen/34.4.321.

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Tri Astuti, Wulan, Faruk Faruk, and Budi Irawanto. "Understanding the Mandatory Language Policy for Immigrants and the Impact on Beur Cinema in France." Policy & Governance Review 5, no. 3 (August 8, 2021): 260. http://dx.doi.org/10.30589/pgr.v5i3.460.

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This article seeks to fill gaps in the literature regarding French cinema's treatment of immigration. Previous investigations of this theme have tended to position immigrants as objects, individuals perceived as creating problems, and as individuals using violence to resolve issues. This article highlighted in French films under a new genre, Beur Cinema, notably in the film Fatima This research discusses French cinema's depiction of immigrants' experiences with cultural negotiation mainly related to the French government's policy of Language Mandatory as one of the requirements for migrants to be granted citizenship. This article will also discuss the portrayal of the French government’s policy toward immigrants and how immigrants cope with the barriers and offer solutions to the problems in Beur cinema. The film Fatima, which was first published in 2015, will be analyzed by its cinematographic signs using the theory of cinematographic semiotics. This study finds that what has been understood as the cause of the lack of integration of immigrants is mainly that the residence permit is not justified. This research finds that the challenges of immigrants are also represented by difficulties in adapting to language skills, daily life routines, raising children, and even communicating with their diaspora community and the local residents.
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Williams, J. S. "Post-Beur Cinema: North African Emigre and Maghrebi-French Filmmaking in France since 2000." French Studies 68, no. 3 (July 1, 2014): 442. http://dx.doi.org/10.1093/fs/knu128.

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Dissertations / Theses on the topic "Cinéma beur"

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Mrabet, Emna. "Contexte et développement du cinéma franco-maghrébin (1969-2013) : l'exemple d'Abdellatif Kechiche." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080010.

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Ce travail de recherche a pour but de retracer l’évolution de la représentation cinématographique de la population d’origine maghrébine en France et de mettre en perspective l’analyse des procédés esthétiques et cinématographiques dans l’œuvre d’Abdellatif Kechiche.Les trois étapes constituant ce travail restituent les tournants majeurs qui jalonnent cette histoire, partant de l’émergence du « travailleur immigré » comme figure cinématographique, en passant par la prise en charge des jeunes Franco-Maghrébins, enfants des premiers immigrés, de leur propre image à l’écran, et aboutissant au cinéma d’Abdellatif Kechiche comme syncrétisme de ce mouvement.Une analyse esthétique d’un corpus de films choisis permet d’appréhender la spécificité de ce mouvement qui débute dans les années soixante-dix et s’affirme au milieu des années quatre-vingt avec la sortie du film Le Thé au harem d’Archimède de Mehdi Charef. Il s’agit par là même d’interroger l’appellation « cinéma beur » employée pour désigner les cinéastes franco-maghrébins qui émergent dans le sillage de Mehdi Charef. Le cinéma d’Abdellatif Kechiche se situe à la fois en continuité et en rupture avec ce courant. Cette recherche révèle les mécanismes artistiques à l’œuvre dans ses films et permet d’initier une réflexion sur la singularité de son écriture, ainsi que sur l’avènement d’une cinématographie qui interroge le cinéma français sur sa capacité à recomposer la réalité dans sa dimension actuelle et polymorphe
The objective of this research is to trace the evolution of the cinematographic representation of the Maghrebi population in France, and to put into perspective an analysis of Abdellatif Kechiche’s aesthetic and cinematographic processes.The three steps of this analysis cover the decisive points marking this evolution, from the starting point of the “immigrant labourer” as a cinematographic figure, followed by the appropriation of their self-image on screen by first-generation Franco-Maghrebi youth and finishing with Abdellatif Kechiche’s cinema as a syncretism of this movement.An aesthetic analysis of a selection of films allows us to grasp the specificity of this movement, which began in the 1970s and asserted itself in the 1980s with the release of Mehdi Charef’s “Tea in the Harem” (“Le Thé au harem d’Archimède”). This allows us to question the notion of “Beur Cinema”, which was used to describe the Franco-Maghrebi directors who followed in Mehdi Charef’s footsteps. The cinema of Abdellatif Kechiche is both a continuation of, and a departure from this movement. This research highlights the artistic mechanisms at work in his oeuvre and initiates a reflection on the singularity of his writing, as well as on the establishment of a cinematography that questions French cinema in terms of its ability to recompose reality in its current and polymorphous dimension
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Mrabet, Emna. "Contexte et développement du cinéma franco-maghrébin (1969-2013) : l'exemple d'Abdellatif Kechiche." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080010.

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Ce travail de recherche a pour but de retracer l’évolution de la représentation cinématographique de la population d’origine maghrébine en France et de mettre en perspective l’analyse des procédés esthétiques et cinématographiques dans l’œuvre d’Abdellatif Kechiche.Les trois étapes constituant ce travail restituent les tournants majeurs qui jalonnent cette histoire, partant de l’émergence du « travailleur immigré » comme figure cinématographique, en passant par la prise en charge des jeunes Franco-Maghrébins, enfants des premiers immigrés, de leur propre image à l’écran, et aboutissant au cinéma d’Abdellatif Kechiche comme syncrétisme de ce mouvement.Une analyse esthétique d’un corpus de films choisis permet d’appréhender la spécificité de ce mouvement qui débute dans les années soixante-dix et s’affirme au milieu des années quatre-vingt avec la sortie du film Le Thé au harem d’Archimède de Mehdi Charef. Il s’agit par là même d’interroger l’appellation « cinéma beur » employée pour désigner les cinéastes franco-maghrébins qui émergent dans le sillage de Mehdi Charef. Le cinéma d’Abdellatif Kechiche se situe à la fois en continuité et en rupture avec ce courant. Cette recherche révèle les mécanismes artistiques à l’œuvre dans ses films et permet d’initier une réflexion sur la singularité de son écriture, ainsi que sur l’avènement d’une cinématographie qui interroge le cinéma français sur sa capacité à recomposer la réalité dans sa dimension actuelle et polymorphe
The objective of this research is to trace the evolution of the cinematographic representation of the Maghrebi population in France, and to put into perspective an analysis of Abdellatif Kechiche’s aesthetic and cinematographic processes.The three steps of this analysis cover the decisive points marking this evolution, from the starting point of the “immigrant labourer” as a cinematographic figure, followed by the appropriation of their self-image on screen by first-generation Franco-Maghrebi youth and finishing with Abdellatif Kechiche’s cinema as a syncretism of this movement.An aesthetic analysis of a selection of films allows us to grasp the specificity of this movement, which began in the 1970s and asserted itself in the 1980s with the release of Mehdi Charef’s “Tea in the Harem” (“Le Thé au harem d’Archimède”). This allows us to question the notion of “Beur Cinema”, which was used to describe the Franco-Maghrebi directors who followed in Mehdi Charef’s footsteps. The cinema of Abdellatif Kechiche is both a continuation of, and a departure from this movement. This research highlights the artistic mechanisms at work in his oeuvre and initiates a reflection on the singularity of his writing, as well as on the establishment of a cinematography that questions French cinema in terms of its ability to recompose reality in its current and polymorphous dimension
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Assis, Ryan Brandão Barbosa Reinh de. "Cinéma beur e Banlieue-film : reflexões a partir de Le Thé au harém d’Archimède e La Haine." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/4080.

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Por meio do presente trabalho, pretendemos avaliar, sobretudo, os momentos iniciais, na França, de dois movimentos cinematográficos: o Cinéma beur e o Banlieue-film. Assim, antes de tudo, se faz necessário contextualizar, historicamente, o período relativo a sua formação. Afinal, externamente, quais questões potencializaram o seu estabelecimento? Adiante, ponderaremos, especificamente, sobre a problemática nomenclatura atribuída, à época, pela crítica – respectivamente, Cinématographe (nº 112) e Cahiers du Cinéma (nº 492) – a essas produções. Existem alternativas à Cinéma beur e Banlieue-film que se sustentam? Ou categorizar é, nesse caso, um processo sem sentido? Por fim, iremos nos ater à apreciação dos dois filmes que foram reconhecidos como o ponto de partida para esses movimentos – Le Thé au harém d’Archimède (Mehdi Charef, 1985) e La Haine (Mathieu Kassovitz, 1995) – e que, certamente, abriram caminho para muitas obras que tinham ambições semelhantes – principalmente, serem vistos e ouvidos pelos franceses, em virtude das temáticas de natureza urgente que apresentam. Necessária, tal produção desnorteia, pois expõe aquilo que muitos habitantes deste país europeu desejam, acima de tudo, esconder.
Grâce à ce travail, nous avons l'intention d'évaluer, principalement, les premières étapes, en France, de deux mouvements cinématographiques: Cinéma beur et Banlieue-film. Il est nécessaire, tout d’abord, contextualiser, historiquement, la période de leur formation. Quelles questions externes ont potentialisé son établissement? Ensuite, nous parlerons spécifiquement de la mauvaise nomenclature donnée par les critiques – respectivement, Cinématographe (n° 112) et Cahiers du Cinéma (n° 492) – à ces productions. Existe-t-il des alternatives à Cinéma beur et à Banlieue-film qui fonctionnent? Ou categorizer est, dans ce cas, un processus inutile? Enfin, nous allons commenter deux films qui ont été reconnus comme le point de départ de ces mouvements – Le Thé au harém d’Archimède (Mehdi Charef, 1985) et La Haine (Mathieu Kassovitz, 1995) – et que certainement ont ouvert la voie à de nombreuses oeuvres qui avaient des ambitions similaires – en particulier, être vu et entendu par les français, sous les thèmes de nature urgente qu’ils présentent. Nécessaire, ce production déconcerte, car elle expose ce que de nombreux habitants de ce pays européen veulent, surtout, cacher.
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Gott, Michael Robert. "Re-charting French space : transnationalism, travel and identity from the postcolonial banlieue to post-Wall Europe." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-2835.

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Contemporary French identity issues are often conceived spatially in popular imagination and political discourse. France and French identity have been mapped into a series of imagined exclusionary spaces through media representations and political rhetoric. This dissertation argues that artists in the fields of film, rap music and fiction are actively yet often indirectly intervening in French identity debates by reframing the question of “integration” and by demonstrating that not only can one be simultaneously French and “other,” but that French identity is always already more complex and transnational than prevailing discourses of “imagined” identity will admit. This is done most effectively, I contend, by avoiding the clichéd and reductive spaces and spatial categories that inflect the debate. The works I examine employ travel and motion to move beyond the discursive ghettos such as beur or banlieue cinema or “minority” music and fiction. While often less overtly political these responses are more effective than the more typical banlieue narrative of clash and confrontation with power. Taking examples from cinema, I argue that the road movies I address are effective weapons of the weak precisely because they avoid the traps inherent in representing the banlieue. My analysis demonstrates that the discursive ghetto is not always a bad thing for a filmmaker because referring to representational stereotypes can open the possibility of more readily “trapping” the viewer and therefore forcing him/her to actively participate in the process of decoding the author’s positioning. Often works attempting to contest spatial exclusion run the risk of simply falling into entrenched binary conceptions of society, reinforcing what the viewer already thinks they know about life in the suburbs or as a minority in general. Looking beyond cinema to music and literature, I demonstrate how artists are mobilizing narrative of space and identity to re-chart France with “hyphenated” perspectives, from African and Algerian to Portuguese and Pied-noir.
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Mielusel, Ramona. "Langue, espace et (re)composition identitaire dans les oeuvres de Mehdi Charef, Tony Gatlif et Farid Boudjellal." Thesis, 2012. http://hdl.handle.net/1807/65483.

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My dissertation critically assesses the evolution of Beur productions (1980s - 21st century) with reference to the socio-cultural and economic conditions of their development. I am interested in identity (re)construction in the work of three Algerian origin artists in France: Mehdi Charef, Tony Gatlif and Farid Boudjellal. I examine texts and films like Le thé au Harem d’Archi Ahmed (1983), Petit Polio (1999), Je suis né d’une cigogne (1999) and Exils (2004). My interest lies in analyzing the impact that these “minor” artists and their chosen art genres have on mainstream cultural productions. Besides focusing on the second generation immigrants in France (the Beurs), the authors challenge also the canonical “Frenchness” or “Europeanness” beyond borders, thus promoting the concept of cultural hybridity. I argue that constant displacement, change of political, social and cultural contexts have significantly transformed the dynamics between the center and the periphery. Furthermore, I provide evidence that “French” identity has undergone a continuous transformation over time and has become a substantially diverse and lively construct. I stand for a new approach to the fixed French identities, one that includes a pluriethnic and multilingual francophone body, and for a redefinition of cultural boundaries reshaping the relationship between self and otherness. My thesis has two major sections (language and space) divided respectively into four chapters. The first two chapters look at different ways in which the Franco-Maghrebi literature and cinema forge new ways of expression within French language and culture. The first chapter is mainly focused on the importance of mastering French by the Beur artists, while in the second chapter I insist on more elaborate stylistic dimensions such as postcolonial irony in the given texts. The last two chapters critically analyze how the artistic productions of Charef, Gatlif and Boudjellal situate themselves in the French socio-cultural context by trespassing borders of a cultural, literary, linguistic and geographical order. This multiple border crossing leads to a movement of these texts to different locations within the main culture. At the esthetic level, this movement between different borders promotes the innovation and the creativity that the Beur artists bring to France.
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Books on the topic "Cinéma beur"

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Cinema beur: Analysen zu einem neuen Genre des französischen Films. Konstanz: UVK Verlagsgesellschaft, 2006.

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Pollacchi, Elena. Wang Bing's Filmmaking of the China Dream. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463721837.

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This volume offers an organic discussion of Wang Bing's filmmaking across China’s marginal spaces and against the backdrop of the state-sanctioned 'China Dream'. Wang Bing's cinema gives voice to the subaltern. Focusing on contemporary China, his work testifies to a set of issues dealing with inequality, labour, and migration. His internationally awarded documentaries are considered masterpieces with unique aesthetics that bear reference to global film masters. Therefore, this investigation goes beyond the divides between Western and non-Western film traditions and between fiction and documentary cinema. Each chapter takes a different articulation of space (spaces of labour, history, and memory) as its entry point, bringing together film and documentary studies, Chinese studies, and globalization studies. This volume benefits from the author's extensive conversations with Wang Bing and insider observations of film production and the film festival circuit.
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The odyssey of the Bear: The making of the film by Jean-Jacques Annaud. New York: Newmarket Press, 1989.

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Higbee, Will. Post-beur Cinema. Edinburgh University Press, 2013. http://dx.doi.org/10.1515/9780748678150.

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Post-Beur Cinema: North African Émigré and Maghrebi-French Filmmaking in France Since 2000. Edinburgh University Press, 2014.

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Higbee, Will. Post-Beur Cinema: North African émigré and Maghrebi-French Filmmaking in France since 2000. Edinburgh University Press, 2014.

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Higbee, Will. Post-Beur Cinema: North African Émigré and Maghrebi-French Filmmaking in France Since 2000. Edinburgh University Press, 2013.

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Higbee, Will. Post-Beur Cinema: North African Emigre and Maghrebi-French Filmmaking in France Since 2000. Edinburgh University Press, 2013.

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Pollacchi, Elena. Wang Bing’s Filmmaking of the China Dream. Amsterdam University Press B.V., 2021. http://dx.doi.org/10.5040/9789048561803.

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This volume offers an organic discussion of Wang Bing's filmmaking across China’s marginal spaces and against the backdrop of the state-sanctioned 'China Dream'. Wang Bing's cinema gives voice to the subaltern. Focusing on contemporary China, his work testifies to a set of issues dealing with inequality, labour, and migration. His internationally awarded documentaries are considered masterpieces with unique aesthetics that bear reference to global film masters. Therefore, this investigation goes beyond the divides between Western and non-Western film traditions and between fiction and documentary cinema. Each chapter takes a different articulation of space (spaces of labour, history, and memory) as its entry point, bringing together film and documentary studies, Chinese studies, and globalization studies. This volume benefits from the author's extensive conversations with Wang Bing and insider observations of film production and the film festival circuit.
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Prawer, S. S. The Blue Angel (Der Blaue Engel). British Film Institute, 2002. http://dx.doi.org/10.5040/9781838712907.

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This comprehensive study reconstructs the production history of The Blue Angel (1930), showing how director Josef von Sternberg's virtuoso visual style was amply supported by an immensely talented team of actors and technicians. It also analyzes the film's aesthetics, and shows how the grave political situation in Germany reverberated in its seemingly airtight world. One of the most famous images in cinema is to be found in the film The Blue Angel (1930). Lola Lola (Marlene Dietrich), in revealing black suspenders, sits on a beer-barrel clasping an upraised knee with both hands while she leans slightly back. Though not Germany's first sound film, it was at the time the most prestigious and expensive by far. Sternberg had been lured back from Hollywood and, together with acting star Emil Jannings and producer Erich Pommer, he set about making an adaptation of Heinrich Mann's novel Professor Unrat. The result is a subtly claustrophobic study of a man's downfall which is a milestone in European cinema.
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Book chapters on the topic "Cinéma beur"

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Öztürk, S. Ruken. "Hard to Bear: Women’s Burdens in the Cinema of Yeşim Ustaoğlu." In Visions of Struggle in Women’s Filmmaking in the Mediterranean, 149–64. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230105201_8.

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"Das cinéma beur aus transkultureller Perspektive. Indigènes von Rachid Bouchareb." In Film transnational und transkulturell, 55–71. Wilhelm Fink Verlag, 2009. http://dx.doi.org/10.30965/9783846748039_006.

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Higbee, Will. ". Introduction: From Immigrant Cinema to National Cinema." In Post-beur Cinema, 1–25. Edinburgh University Press, 2013. http://dx.doi.org/10.3366/edinburgh/9780748640041.003.0001.

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Higbee, Will. ". Conclusion: Post-Beur Cinema." In Post-beur Cinema, 182–90. Edinburgh University Press, 2013. http://dx.doi.org/10.3366/edinburgh/9780748640041.003.0007.

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"7. Conclusion: Post-Beur Cinema." In Post-beur Cinema, 182–91. Edinburgh University Press, 2013. http://dx.doi.org/10.1515/9780748678150-009.

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"Index." In Post-beur Cinema, 201–4. Edinburgh University Press, 2013. http://dx.doi.org/10.1515/9780748678150-011.

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"5. Home, Displacement and the Myth of Return: Journey Narratives in the 2000s." In Post-beur Cinema, 130–53. Edinburgh University Press, 2013. http://dx.doi.org/10.1515/9780748678150-007.

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"Contents." In Post-beur Cinema, v—vi. Edinburgh University Press, 2013. http://dx.doi.org/10.1515/9780748678150-toc.

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Higbee, Will. ". The (Maghrebi-)French Connection: Diaspora Goes Mainstream." In Post-beur Cinema, 26–60. Edinburgh University Press, 2013. http://dx.doi.org/10.3366/edinburgh/9780748640041.003.0002.

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Higbee, Will. ". Colonial Fracture and the Counter-Heritage Film." In Post-beur Cinema, 61–94. Edinburgh University Press, 2013. http://dx.doi.org/10.3366/edinburgh/9780748640041.003.0003.

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Conference papers on the topic "Cinéma beur"

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Astuti, Wulan Tri, Faruk, and Budi Irawanto. "Bicultural Identity Negotiation in Beur Cinéma: The Case of film Samba." In 6th International Conference on Education & Social Sciences (ICESS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210918.068.

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You might also be interested in the extended bibliographies on the topic 'Cinéma beur' for particular source types:
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